How to get and develop killer story ideas – recording

The recording of the session with Larry Correia at LTUE is up on YouTube. I really enjoyed this session, and it’s always fun to work with Larry. A few additonal points.

First, you might think, well, heck, they didn’t finish a story idea. No, we didn’t. The purpose wasn’t to wow the audience. It was to show them the process of generating ideas. But . . . that doesn’t mean we weren’t close.

The big thing we’re missing from the story at the end is the situation, the problem. So if you want to extend this, ask yourself a question to help you identify that story core. For example, you might say, let’s narrow this down by genre. What genres could we use? Romance, political thriller, crime, horror, humor, scifi, western, paranormal, etc. If we select paranormal thriller, we limit our options (a good thing), and can start to generate ideas around a question like, what’s going on, what’s the problem? Potential answers:

  • There’s some gateway to the spirit world in Wyoming
  • Maybe there’s an oilrigger roughneck involved
  • Maybe something with the drilling disturbed something
  • Maybe a crime has been committed (I know, I know, but what did I say in the video about crap, cliche?)
  • Maybe that Japanese tourist has a way to capture the spirits and use them in some magic. Is he a wizard? Is he there to trap the spirits of the dead to fuel his magic? Did he get a nagging ghost that drives him nuts?
  • Did someone call him in?
  • Or is he possessed? An innocent bystander?
  • Is there some ghost there that knows something about a political figure, some information?  
  • Maybe someone who can project her spirit, has some power, has been kidnapped and is being held in Wyoming. Or tries to make her escape when her kidnappers stop in Rock Springs. And the guy to help her is the Japanese Tourist.
  • Maybe these aren’t ghosts, but some kind of alien symbiote? There was a crash somewhere and the locals were infected?
  • Or should I ask: what could go wrong with ghosts? Or what is the nature of ghost magic?  

Do you see? If we had more time, we’d have delved more into the situation with creative Q&A. Sooner or later as we generated ideas around character, setting, and problem a story idea would have come to life.

And (thank you, Mike Barker) here’s a transcript.

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  • Excellent advice from author Larry Correia

    Larry just wrote a great post about Writing Gun Stuff. Down at the bottom, he says this:

    I’m not one of those people who gets hung up on “rules of writing”. . .  If it is awesome, and your readers like it, write it. [emphasis added]

    Amen to that. And if you’re going to write about characters with guns, read the rest of the of the post.

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  • I spent 7 days in a car with Larry Correia, International Lord of Hate, and lived to tell about it

    Larry-Correia
    I think this was taken when someone stole  the ILOH’s Cheetoes

    Seven days.

    San Diego, Phoenix, and a wild trip through Wyoming, around Denver, and back to Utah.

    Seven days.

    Five nights.

    In Arizona, I was told by a wild-eyed denizen of the Barnes & Noble we were signing at that my epic fantasy book was true–we are ruled by lizard people!

    Imagine how shocking it was to learn that. I mean it doesn’t have anything to do with my book, but lizard people? A hollow earth? Is the CIA in on it? I don’t think I’ve recovered yet.

    In San Diego, we rode around with Dave Farland in his old four-door sedan. A Lincoln? All I remember is that it was big and floated like a dream. After some narrow misses, Dave asked me to drive. Two big guys up front. One older, rough-looking guy being chauffeured in the back. At one point we walked to a restaurant during the day like some made man and his two goons. The restaurant was empty except for three rough characters sitting around a table on the far side. They looked at us, sized us up, then looked away. We sat at a table on our side.

    In Wyoming we drove in high winds that sent streams of snow across the highway like multitudes of slithering snakes. At one point we passed one semi that was on fire, winds howling about. About an hour later, we passed a truck driver out in the median, thigh-deep in snow, a huge knife in his hand. He was trying to saw off the frozen antlers of an elk that had been hit. I looked up at his rig as we passed and did not see anyone behind the wheel. I swear the thing was rolling slowly down the highway, unmanned.

    On the way back from Denver, we rode along a wintery, icy highway with trucks and cars littering the sides. Larry white-knuckled the steering wheel, but we made it. Two big guys, one 6’4″ the other 6’2″, in a tiny Ford Focus.

    Did the very road fear the Lord of Hate? I cannot tell.

    On this trip, Larry, that man of hate, brought a bag of Walmart beef jerky that smelled like, well, a particular kind of flatulence. What kind of person does that to beef? But we ate it. Because you do such things on epic journeys.

    Now, here’s the thing. If you spend any amount of time with me, you will eventually tell me your life story.

    You will.

    Not because I’m a prier. But because I’m simply and sincerely interested. In people. If you work for the sanitation department, I’m going to want to know about garbage trucks. If you bowl, I’m going to want to know about bowling. If you’re some kind of wackadoo, I’m going to want to hear your wackadooness. Sooner or later, you’re going to talk. And, yes, there will be things along the way that I just might put in my zing file. That’s not why I’m talking to you. But sometimes the slices of life are too good not to capture.

    So you put Larry Correia, International Lord of Hate, into a car with me, and he’s going to spill his guts.

    Let me tell you what I found. Oh yeah, wait until you hear this.

    Larry loves Bridget, his wife. No, do not turn away in horror. You must hear the rest of the tale.

    He doesn’t like taxes, which is outrageous. Simply beyond the pale.

    He’s a strong advocate of the right to bear arms. He figures people are safer with guns than without. And he was loaded. I remember getting to the hotel in Denver and seeing he draw his guns and put them on the table. A Kimber/Bul Poly .45 from his waist and a little Kahr MK9 on the ankle. Frightening. Of course, I never worried about going anywhere with him, but the guns had nothing to do with that.

    He doesn’t like the idea of a small group of people in Washington telling folks what they need to do. He’s not anti-government. He just likes a minimal amount of government. This too is outrageous. Government is the source of all good in the world.

    He doesn’t like a lot of what Franklin Delano Roosevelt did. One of those things he doesn’t like is the rounding up of Japanese Americans and putting them in war camps. Another was Roosevelt’s attempt to pack the Supreme Court with justices who would rule his way, essentially eliminating that branch’s check on the presidency. Nor does he like Roosevelt for being the first president to explicitly embrace deficit spending. The list with Roosevelt could go on. Of course, we all know that wise people everywhere thought Roosevelt made the right choice on these things.

    Larry honors the folks who serve in our military and law enforcement. Big time. Guys and gals who put their lives on the line or support those who do. I roll my eyes.

    Larry’s a big believer in pulling yourself up by your boot straps and getting to work. He worked on his father’s dairy farm milking cows early in life. Busted his chops in school. Busted his chops at work. Busted his chops writing novel after novel. And now he lives on Yard Moose Mountain. A supposed example of can-do economic mobility, which all smart people know is a farce.

    I mean, work? Come on. Do you see how unreasonable the man is?

    He’s an accountant and pretty good with numbers. Ergo he doesn’t like a lot of bureaucratic waste. It stinks to his accountant soul. And he saw a lot of that as a military contractor. I’m really for a lot of waste of taxpayer dollars, but I let him have his say.

    Larry was once a bouncer.

    He’s a big guy, but got his trash kicked in some early amateur MMA. But he still loved it.

    LarryCorreiacismale
    The International Lord of Hate in multiple colors

    In a friendly wrestling match, he broke his roommate’s toe, and said roommate responded by breaking the International Lord of Hate’s nose. Yes, the nose, Ladies and Gentlemen.

    Larry is funny.

    Larry has a lot of friends because, shocker, he’s a friendly guy.

    He’s also kind of a sheepdog.

    Larry is a capitalist. And it appears he’s the dirty greedy kind who uses his capitalistic ties for helping folks down on their luck.

    There’s more. But let me tell you what I never heard. I never heard him make a racist remark. Not even when he told me about growing up in California’s Central Valley, or when some idiot kids who had been tasked with beating someone up to to join a Hispanic gang targeted him. Never heard him make a misogynistic remark.

    I did hear how he loved to argue with folks on the internets. And then saw that later when I started reading his blog. It’s clear Larry likes a good fight. He’s a barbarian with big boots. But, in truth, he’s a friendly barbarian.

    That’s the expose. I know. Shocking, isn’t it.

    Now he’s gone and done this Hugo thing and calls people names and uses four-letter words on his blog posts.

    I’ve found that Larry in person is not quite the same as Larry online when you disagree with him. In person he’s usually very conversational when you disagree.

    Some might say he needs to be more polite online. Use more class.

    They might have a point. Sometimes I think he steps over the line. Then again, they might not. He does get people to listen. And some of the things he has to say are insightful and worthwhile. Others are just plain funny.

    Whatever your opinion, all I know is that if you’re wanting Abraham Lincoln, you’re going to have to look elsewhere. If you come out swinging, he’s not going to regale you with Kumbaya.

    larrycorreia
    The International Lord of Hate radiating fearsome hate

    And because he fights the way he does as Internet Larry, his posts seem to push some folks buttons to the point that they actually miss his intent.

    For example, when Larry responded to Alex MacFarlane’s call for “an end to the default of binary gender in science fiction stories,” he never once suggested that we should discriminate against the folks MacFarlane wants to read stories about. He never suggested there shouldn’t be any such stories. Nor did he ever suggest folks who are discriminated against never have a case. His point was that the best way to write an entertaining story was to put the entertainment first, not some political agenda. His point was also that he’s sick of folks trying to foist their interests on him and everyone else. If you want to write about certain types of characters, do it. But don’t tell everyone else they must.

    That was lost on some people. All they saw was someone who disagreed “rudely,” and they saw red.  I’d be seeing red too if I felt ruded upon. At the same time, they still missed his point. A lot have missed his point about the Hugos as well.

    But whatever happens with this latest kerfluffle, I had to tell my tale. Because I spent seven days with Larry Correia, International Lord of Hate. It was nip and tuck the whole time, but I survived his horrible onslaught. And then we enjoyed some ice creams and tropical trail mix, which I can happily report smelled a lot better than the beef jerky.

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    Writing Update: 6/13/11 – reviewing the beginning

    I’ve finished chapter 17 of CURSE. I’m up to 50,000 words and have moved from the presentation phase into the struggle. And I’m stopping at this point to review the what I’ve got. I’ve learned that if the foundations of the story–the presentation phase–has fundamental flaws in it, you’re only going to create a HUGE rewrite mess if you push on.

    I know this from experience. When writing the first draft of CURSE back in 2009 (oh my heck, it feels like forever ago), I ignored my Spideysenses and told myself I could fix anything that was wrong in post production.  And it IS possible to fix many things afterwards–you can change scenes, improve clarity and transport, remove continuity errors, layer in character tags and things like that.

    And it IS true that sometimes you do just have to write to the end to figure out the story.  Sometimes you have to just write to the end, and do it in a substandard way, because if you don’t you’ll never finish anything. Sort of like sketching first and then painting. But if there’s something wrong with the basic premise of a story line, and you keep writing, then that story line affects everything it touches. The fractures ripple out all the way to the end of the book. And you might end up, like I did, having to toss a huge amount of what you’d written.

    Which is not all bad. I learned a lot and invented a lot of cool stuff while writing that. But when you’re on a deadline, it can be a killer.  And I’m not doing that this time. I worked out the big issues in my chapter outline.

    So I’m pulling back and reviewing. I’m delighted with everything but the villain. He’s still not right. I love his chapters, the scenes. I love the name I’ve given him–Endless. But the structure isn’t right. I’ve inadvertantly created two main villains. And that’s not useful. Having two “main” villains doesn’t double the power of the opposition. It splits it. The villain/henchman model works well. But I don’t have that either. Over the next few days I’ll be rectifying the setup. Then moving forward.

    For those of you who are writers, I thought you’d be interested to know that there were a few times these last two weeks when I dreaded the writing. I had a large problem before me or had to invent a new chapter (as opposed to using something from the previous draft), and a dread filled me. But I sketch/drafted my way to the end, and soon found the writing a joy again. 

    I can’t say enough about the sketch/draft method. I’ve found it works in creative activities OUTSIDE writing as well. When working up a lesson plan for my day job, designing landscaping for our house, developing a talking script for a sales call, writing a technical manual, or a hundred other things I’ve had to do–it’s always easier to work from something than create everything all from scratch.

    Sketching allows me to create that first draft. And it allows me to do this without having to worry about quality. Sketches can be silly. Weird. Full of crap. They can be all this because I can throw them away. They’re not meant to be permanent. And so there’s no pressure to perform. There’s no staring at a blank screen or page. Sketching is a free-wheeling joy. It fills me up with ideas. And then, when I’ve got the general idea of what I want to do, I can start in on the “real” draft knowing WHAT I want to accomplish which leaves me free to think about the HOW. And if I run into problems and realize the draft isn’t going to work, or I run into something better, I just call the current draft a sketch (or “take” as used in the movie business) and move on to the real one.

    Sometimes a chapter or section requires 1 sketch or take, sometimes I’ve run up into the 20’s. Sometimes I haven’t needed any at all. It’s not the number that’s important, it’s the process that has really freed me.

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    LTUE schedule posted

    ltuelogoLTUE has posted its schedule for the upcoming conference Thursday – Saturady, Feb 12-14. I’m, of course, stoked to present and participate on the panels. But I’m also looking forward to attending some of the sessions.

    Look at this one: How a Military Unit Works in Real Life: Zachary Hill, Brook West, Robert J Defendi, C. R. Asay, Mike Kupari (m)

    Or this one: All about armor: Zachary Hill, J. D. Raisor, Kay Mildenhall, Charles B. Stanford (m)

    Or what about this one: Law Enforcement: James Ganiere, Zach Hill, Robin Ambrose (m), which conflicts with one of mine, dang it!

    Or this: Making Creatures Realistic to their Environment: Keliana Tayler, Brian Hailes, Jessica Douglas, Bryan Beus (m)

    This: Applied Biotechnology: Derrick William Dalton, Mikki Kells, Charlie Pulsipher, Chersti Nieveen, Ali Cross (m)

    This: How to Create a Language: Maxwell Alexander Drake, Dirk Elzinga, Valerie Mechling, Samuel Stubbs, Bryce Moore (m)

    And tons of others.

    Oh, and what about the keynote address on Saturday by Toni Weisskopf?

    It’s going to be a great conference. I’ll be giving these presentations.

    • How to Build an Action Plot. In this one, Larry Correia and I team up to share a model of plotting that should make developing your action story much easier. Attendees will be able to use the methods on a novel idea Larry, Joe (Larry’s son), and I came up with called Mech Runners. Basically, Larry turned to Joe and said, “What’s awesome?” Joe said, “Giant robots, bandits, and murderers.” We took it from there.
    • How to Build a Romance Subplot. In this one, I team up with romance author LL Muir to share a model of plotting that should make developing your romance plot or subplot much easier. Attendees will be able to use the methods on a story idea Lesli and I came up based on The Hobbit. It’s called My Precious.
    • Tapping into the Power of the Story Setup. The story setup is a fabulous tool that’s not only helped me drastically cut down the time it takes me to develop my ideas, but it has also helped me develop better ideas. In this presentation, I will explain what the story setup is and how you can use it to help you nail your novel.

    I’ll also be moderating or participating on these panels:

    • The Hero’s Journey & the Virgin’s Promise: Patterns and Archetypes for Better Characters:Michaelbrent Collings, Tracy Hickman, Blake Cassleman, Renee Collins, John D. Brown (m). Did I tell you I think the hero’s journey is stupid? This ought to be a fun one.
    • Action Sequences: John D. Brown, D. J. Butler, Peter Orullian, Adrienne Monson, M. Todd Gallowglas (m)
    • Self-Publishing Pros And Cons: Jared Abram Barneck, John D. Brown, Mikki Kells, Joe Vasicek (m)

    Hope to see you there!

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    Become A Story Idea Machine

    Now’s your chance

    Apply to take the next Novel Writers Academy course: How to Create Story Ideas That Beg To Be Written.

    • Six-weeks
    • Starts: Jan 2, 2022
    • Ends: Feb 21, 2022
    • Gobs of hands on practice
    • One-on-one guidance from me

    At the end of the six weeks you will be a story idea machine.

    I will be working with only a small set of people. And so you need to apply to get in.

    The deadline for applications is midnight, December 11th. So contact me now to get the application instructions.


    A cracking good story idea requires five critical elements.

    Until you have all five, you’ll struggle to plot. You’ll write a few scenes and run out of gas. You’ll feel like the story just isn’t going anywhere.

    And that’s because it isn’t. It can’t. A story isn’t a story without all five elements.

    However, once you develop these five things, your story will suddenly roar to life. There are a few other elements that are important as well, but these five things form the core of the story setup. 

    In this course you’re not going to merely learn about all of those story elements. You’re going to go deep and learn what can only be learned by actually doing the work and developing story idea after story idea with personal one-on-one feedback from someone who knows what they’re doing.   

    When you finish, you won’t just know story theory. You will be a story idea machine. And you will be that because you have put in the work. The right work.  

    Again, this is not a course full of lectures and videos. This is a course where you’re going to work. And develop the insights and skills that only come from doing the work.

    You’re actually going to:

    • Come up with story setup after story setup after story setup
    • And improve them with one-on-one feedback. 

    It’s going to:

    • Eliminate years of you wandering about in the story wilderness trying to figure things out on your own. 
    • Put you miles ahead of other writers who have no idea what’s really at the core of story. 

    You are going to learn how to develop killer story ideas on purpose instead of on accident. Which means you’ll be able to do again and again. Reliably. Like clockwork. 

    Course details

    The focus of the class is not on learning about story, although you will do that. The majority of your time will be spent on developing stories. 

    You can’t become a carpenter by watching videos and reading books about it.

    You have to get out on the work site, cut wood, and pound nails. You have to make the mistakes all beginning carpenters make, get feedback, and improve.

    The same goes for writing.

    And you’re going to work in this class. You develop 21 story setups. In fact, you develop more because the 21 are just the ones you turn into me. And with each one your skills, insights, and abilities grow.  

    In the beginning, your setups will be bare bones. By the end, they’ll be fully developed setups that beg to be written. Setups you can use to immediately write the first draft  of your novel, whether that’s in outline or chapter form. 

    Here’s what you do each week. 

    Week 1.

    • Uncover the secrets of what’s really at the heart of story and how to generate ideas. 
    • Define your genre requirements
    • Create story setups 1-3

    Week 2.

    • Uncover the secrets to compelling characters 
    • Create character sketches
    • Create story setups 4-7 

    Week 3.

    • Uncover the secrets to formidable obstacles
    • Create story setups 8-11 

    Week 4.

    • Uncover the secrets to interesting casts
    • Create story setups 12-15

    Week 5.

    • Uncover the secrets to managing multiple storylines and series
    • Create story setups 16-19 

    Week 6.

    • Create story setups 20-21. These are your capstone projects where you apply everything you’ve learned and take it to the next level

    In this class you develop story idea after story idea after story idea. You are going to be marinated in the work of developing characters, THOMs, goals, obstacles, settings, casts, and more. And because of that, each week will not only bring an explosion of insights, but new skills and abilities.

    Every week you get two private, one-on-one, live sessions with me where you get encouragement and feedback on what you’ve developed. And you’ll have access to a private Facebook group where you can apply the principles to brainstorm even MORE ideas for each other’s stories. 

    At first you might feel a bit shy and worried about your ideas and abilities. But you’ll soon get over that. By the end of the course you’ll be one of those people that can generate terrific ideas easily. And you’ll be able to do that because you will have put in the work to become a different writer.  

    What’s the price?

    Hours of one-on-one instruction from a professional editor or author costs thousands of dollars. An MFA program can cost $25,000 to $30,000 or more!

    But this course won’t cost anywhere close to that.

    Plus you’re going to learn things here you’ll never get in an MFA program (I know. I was accepted into a top-ranked program).

    The cost of this course is $799. And I personally guarantee your results. You’ll be totally oh-my-gosh-I’m-so-happy-I-took-that-class satisfied, or I’ll give you your money back. No questions asked.

    Now’s your chance to stop spinning your wheels. I can’t tell you how much I wish I’d had something like this when I’d started:

    • The secrets about the true core of story.
    • The secrets about how to come up with ideas. 
    • Actual work with personal one-on-one feedback. 
    • Laser focused on what actually matters, not a bunch of ridiculous writing rules. 

    When you finish, you will be a story idea machine. 

    You won’t know plotting. That’s a different course and set of skills. You won’t know how to write chapters. But you’ll know how to create the engine that powers all the rest of that. You’ll know how to create the core that makes awesome plots and chapters possible. 

    If you want to take this course, click the button below and contact me. I will tell you exactly how to apply.

    I’m not going to be able to accept everyone who wants to take the class. I have a very strict limit on the number of students I can work with. So you need to get your application in before the deadline of midnight, December 11th.

    Don’t wait!

    Contact me now to get application instructions.

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    Brain Nazis and Feeling Good by David D. Burns, M.D.

    Have You Got a Brain Nazi?

    If you’re conscious, you’re monitoring your environment. You have to. It’s how you survive. This is not something you can turn off. It’s just one of those systems that runs automatically, like your liver. You’re always appraising the situation.

    And as soon as you encounter something that’s likely to be of importance to you or yours, your monitor kicks off a physical response to prepare you to deal with or take advantage of it.

    The problem is that sometimes a Nazi propagandist worms his way into the monitoring station. And like any good Nazi, he distorts reality.

    Sometimes those distortions lead to burning resentment, sometimes to unwarranted shame or anxiety, sometimes to eating disorders, sometimes to grave depression. When I heard of the tragic suicide that occurred in our community a few months ago, my heart went out in sympathy to the girl, her family, and friends.  I’m not a doctor. I don’t know the situation. But I’m positive she was dealing with one of these villains.

    I wished I’d been able to share something that’s been a literal life saver to me. Now, it might not have changed anything. But hopefully it can change things in the future for you and others you know who may have to deal with a Nazi in the brain.

    And you will have to deal with a brain Nazi at some time.

    This is not something that affects a miniscule portion of the population. In any given year you can expect more than 15% of a population to experience some form of this [1]. That’s roughly 238 of the estimated 1,592 people 18 years and older in the little county where I live [2]. Rates for teens are similar [3]. Besides, you don’t have to have a full-blown case of a depression for distortions to affect you. How many of us haven’t made faulty comparisons with others? “Oh, she’s so thin and has such great hair; I’m so dumpy.” “Oh, he’s doing so well, and I’m not. I’ll never be a success.”

    The question is not whether you or someone important to you will have to deal with it. The question is how prepared you’ll be when you do. Everyone deals with distortions now and again.  Which means everyone can find a little more enjoyment in life by showing their brain Nazis the door.

    So how does it all work? How do you show the villain out?

    I’m going to summarize it below, but I’ll tell you right now that the book that saved my life was Feeling Good by David D. Burns, MD. This isn’t positive mental attitude. It’s not neuro-linguistic programming. It’s not the mumbo jumbo of Freud and Jung. This is practical and proven. It is the most prescribed intervention for dealing with these issues in the current medical community. It’s prescribed because it works.

    Your Brilliant Appraisal-Emotion System

    To understand this, you have to understand how emotions work. As I said before, you’re always monitoring your situation. You hear a buzz and see a rattlesnake on the path two feet away. Your monitor immediately responds. Alarm, adrenaline, increased blood flow–all of that to get you ready to deal with the situation. Your monitor writes “alarm” on your face to communicate it to those around you–to warn and ask for help. This happens in less than a blink of an eye.

    But this doesn’t just happen with danger. It happens when we encounter unfamiliar things. When we encounter positive things. You see a great friend who makes you laugh all the time. Boom, your monitor responds. You smile. Feel. Focus. You do so because you not only want to avoid dangers, you also want to seek out the things that make you happy.

    Our emotions prepare us to fight, flee, seek, and pitch woo. Our little monitoring and physical response system is brilliant.

    But there’s more. We don’t rely on just the automatic subconscious monitoring. We also have a cognitive (conscious thinking) part. Let’s go back to the rattlesnake. You walk out into the garden, step on a slither, and immediately go into alarm mode. Then you look, consciously see the slithery thing is not a snake, but the garden hose. You relax. Laugh.

    The quick subconscious appraisals keep us alive, because with snakes and other things, if you’re slow, you’re dead. We don’t have time for thought. If you touch a hot stove, you want an immediate reflex. You don’t want to ponder it for a second or two. On the other hand, the cognitive appraisals help us further appraise a situation. They bring more of our resources to bear on the situation.

    How Does the Nazi Get In?

    So there are three parts of the appraisal-emotion system: the subconscious appraisal of the situation, the physical response, and the cognitive appraisal. Each of the three parts affects the other two. And when things are running smoothly, we don’t have problems. But sometimes we get a distortion mucking up the works. We make a faulty appraisal of the situation. And therefore have a faulty physical response.

    For example, you’re a mother. You’ve had a hard day. The kids make a huge mess with flour in the kitchen. You yell, freak out. When they’re cowering in their rooms and you’re cleaning up the flour, you think, “There I go again. I’m a total failure. I can’t stand it! I never do anything right! I’m a terrible mother.” These thoughts make you even sadder.

    And that’s the propaganda. That’s your brain Nazi with his all-or-nothing thinking, telling you that you either perform perfectly or you’re a failure.

    But is that true? No, it’s not. You might be a B+ mother, filling the lives of your kids with all sorts of goodness. You might have just had a great time reading with the kids not thirty minutes before. But the brain Nazi tells you to forget that. “Vatch dis film,” he says, “und see de horrors of vut you are!”    

    And the all-or-nothing thinking gambit is just one of ten common weapons he uses. Furthermore, this happens so quick that we often don’t notice it. In fact, we’ve often repeated some of these distortions so often than they’ve become almost automatic.

    Mr. Nazi, Meet Mr. Bazooka

    The good news is that you can pull the lid off the lies. You can open the door, spot the brain Nazi that slipped in, and take him out. You can do this because one of the three parts of the system is our cognitive appraisal. This means you can consciously stop the movie, pin the distortion on the wall, and uncover the truth. Once you do that, it’s like the rattlesnake scenario above—oh, it’s a hose, we realize, not a snake, and the appropriate emotions immediately follow.

    But you need to know how to stop the movie. You need to know how to spot the lies. David D. Burns, MD tells you exactly how to do this in his book Feeling Good. (By the way, DON’T get this book confused with his Feeling Good Handbook–you DON’T want the handbook; you want Feeling Good, the book.)  In the book, Burns talks about the theory, the results, and then gets right down to the practical techniques used to blow the brain Nazi to kingdom come.

    A few years ago I hit a bad patch with a brain Nazi that had taken up residence. A very bad patch. He’d been there for quite some time. This book and a good counselor saved me. I thank the Lord for that. By the time I went to see a medical doctor to assess whether chemical issues might be playing a role, I was stable. I wasn’t out of the woods yet, but I had opened the lid and found the villain at the controls. I used the techniques Burns gave me, and I’m happy to say that while the brain Nazi still comes round every once in a while, I can spot him. And I can take that sucker out.

    Go to the library and check out the book and take the assessment test. If you, or someone you know, scores in the mild range, maybe you’ve just experienced a very sad event. But maybe you’ve also got a villain in residence. Get the book. Read it. Be happy. Nobody needs to live with a Nazi at the controls.

    For Authors

    By the way, fiction authors should pay special attention to this stuff. Not because we’re more susceptible to brain Nazis than others, although we do have to deal with our fair share as we develop and share our stories. No, we should because the emotion process is exactly what we’re trying to tap into. Knowing the principles can be very useful indeed. Let me recommend you read the books on emotion listed on the Learning With Pros page.

    Sources

    1. 1. http://www.nimh.nih.gov/health/publications/the-numbers-count-mental-disorders-in-america/index.shtml
    2. 2. http://quickfacts.census.gov/qfd/states/49/49033.html (find your state and county and see how many folks are likely dealing with a brain Nazi in your area)
    3. 3. http://www.oas.samhsa.gov/2k5/youthDepression/youthDepression.htm
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13 Comments

  1. Awesome! Thanks! I had to miss this one due to prior commitments (believe me, I was pretty mad when I finally realized it. I had even put a smiley face next to it on my planner), but this is fantastic.
    Thanks again! Time to get some ideas. 😀

  2. Thanks for getting this on tape, John. My sister couldn’t attend this year, and she was a little depressed when I told her how awesome LTUE was, and how much I enjoyed this lecture. Getting the video of it that she can watch whenever she want to will really brighten her day.

  3. This was great. Thanks for posting it. You didn’t happen to record your other appearances did you?

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